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At 83, and still going strong - thank heaven - I’m working as fast as I can in these trying times. So many possibilities to explore, and making challenges to experience in this continuing journey of discovery. I thoroughly enjoyed the audience response to the narrative elements of last year’s show - for example, the evolution of my Wave series. I have attempted to expand on this in my new collections, which for the most part have been developed, from earlier successful series. To elucidate this, I have included some forerunners in this catalogue, and to maintain our tradition, these are somewhat reduced in price.
Hugely exciting is my daughter, Sophie’s participation in this exhibition, our first together. An established printmaker, who shows regularly at Eames Fine Art and the Royal Academy, she is now applying her considerable talents and vibrant imagery to forge a new direction in the medium of glass.
Archipelago is a development of my ongoing series, Paradiso. This collection is intended as a tribute to the Environmentalist, Yann Arthus-Bertrand, whose extraordinary photographs in ‘The Earth from the Air’ are a constant source of inspiration for me. It is the book I would take to my desert island to remind me of the wonders of our planet.
I have included a small selection of Paradiso forerunners, which illustrate the realisation of an idea.
VIEW COLLECTION HERE
I have included a collection of 25 Pyramids in this exhibition running the risk that you might think that making these must be easy. I can assure you that it isn’t! Each one involves hotworking or casting followed by many hours of painstaking coldwork; cutting, grinding and polishing to reveal their complex interiors. This collection also includes a few early versions to illustrate my journey in questioning how we can draw attention to the worst crisis in human history.
These small sculptures are intended as reminders of the risks we are taking with our environment.
Inspired by Cornish dry stone walls, ancient scripts and a traditional Japanese tie-dye method of colouring fabric dating from the 8th century, Shibori seeks to achieve a complex pattern of continuous calligraphic mark making.
Originally developed for my Wheatfield and Klimt Landscape series, I sought to emulate typical indigo hues, before experimenting with other more idiosyncratic colourways. I liken this exploration to my quest, as an avid beachcomber, to finding the perfect pebble. The search goes on!
Our 2019 exhibition, ‘Inspired’; invited glass artists to focus on an object close to one’s heart and to develop work derived from it. I chose Hokusai’s breathtaking Great Wave as my source, and explored a variety of forms, colours and techniques in an attempt to interpret the qualities I admire.
Among these is a sense of frozen movement which is also an intrinsic element of the process of working with hot glass. As the glass cools it requires crucial decisions in order to capture a particular form, by knowing when to stop, and allowing the glass to freeze in that moment. Latest versions contain silver leaf inclusions in my attempt to capture and express the scattered light and energy of a cresting wave.
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